No study, however, of this outward ease and swift compendiousness of speech will teach us the secret that was beneath it in Voltaire, an eye and a hand that never erred in hitting the exact mark of appropriateness in every order of prose and verse. Perhaps no such vision for the befitting in expression has ever existed. He is the most trenchant writer in the world, yet there is not a sentence of strained emphasis or overwrought antithesis; he is the wittiest, yet there is not a line of bad buffoonery. And this intense sense of the appropriate was by nature and cultivation become so entirely a fixed condition of Voltaire’s mind that it shows spontaneous and without an effort in his work. Nobody is more free from the ostentatious correctness of the literary precisian, and nobody preserves so much purity and so much dignity of language with so little formality of demeanour. It is interesting to notice the absence from his writings of that intensely elaborated kind of simplicity in which some of the best authors of a later time express the final outcome of many thoughts. The strain that society has undergone since Voltaire’s day has taught men to qualify their propositions. It has forced them to follow truth slowly along paths steep and devious. New notes have been struck in human feeling, and all thought has now been touched by complexities that were then unseen. Hence, as all good writers aim at simplicity and directness, we have seen the growth of a new style, in which the rays of many side-lights are concentrated in some single phrase. That Voltaire does not use these focalising words and turns of composition only means that to him thought was less complex than it is to a more subjective generation. Though the literature which possesses Milton and Burke need not fear comparison with the graver masters of French speech, we have no one to place exactly by the side of Voltaire. But, then, no more has France. There are many pages of Swift which are more like one side of Voltaire than anything else that we have, and Voltaire probably drew the idea of his famous stories from the creator of Gulliver, just as Swift got the idea of the Tale of a Tub from Fontenelle’s History of Mero and Enegu (that is, of Rome and Geneva). Swift has correctness, invention, irony, and a trick of being effectively literal and serious in absurd situations, just as Voltaire has; but then Swift is often truculent and often brutally gross, both in thought and in phrase. Voltaire is never either brutal or truculent. Even amid the licence of the Pucelle and of his romances, he never forgets what is due to the French tongue. What always charmed him in Racine and Boileau, he tells us, was that they said what they intended to say, and that their thoughts have never cost anything to the harmony or the purity of the language[104]. Voltaire ranged over far wider ground than the two poets ever attempted to do, and trod in many slippery places, yet he is entitled to the same praise